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Douglas Bond: BEWARE–DANGER! What happens when we subsume lyric to music in worship

A good esay from Douglas Bond on what happens when we make music central in corporate worship: Douglas Bond: BEWARE–DANGER! What happens when we subsume lyric to music in worship

Scott Aniol

About Scott Aniol

Scott Aniol is the founder and Executive Director of Religious Affections Ministries. He is Chair of the Worship Ministry Department at Southwestern Baptist Theological Seminary, where he teaches courses in ministry, worship, hymnology, aesthetics, culture, and philosophy. He is the author of Worship in Song: A Biblical Approach to Music and Worship, Sound Worship: A Guide to Making Musical Choices in a Noisy World, and By the Waters of Babylon: Worship in a Post-Christian Cutlure, and speaks around the country in churches and conferences. He is an elder in his church in Fort Worth, TX where he resides with his wife and three children.

Give to the Winds Thy Fears (by Paul Gerhardt) to TERRA BEATA

One Response to Douglas Bond: BEWARE–DANGER! What happens when we subsume lyric to music in worship

  1. Thanks Scott – this is again very helpful.
    I tried to find something on how worship songs are usually written. I guess there is no rule that everyone follows but when we look at songs that miss a coherent theme and are composed of simple catch phrases used in almost all worship songs, one can guess how they went about creating it. Here’s an example:
    “In the beginning I started with lyrics. I’d get some truths scribbled down and pick one of the lines to try singing out … to whatever tune came to me. I know that sounds cheesy, but that’s what I did! And it even worked! Then I would build the melody around that line and figure out chords later. (Unfortunately, I usually found these melodies pretty hard to play on an instrument other than my own vocal chords, so buyer beware).

    Nowadays I still start with lyrics – though it might be just a few random lines and an overall theme – then I play some chord progressions on the piano (for instance, C G Am F, repeated) until I come up with one that seems to fit the lyrics both melodically and rhythmically. Then I fill in the additional lyrics as needed.”


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